Old & Masterful. A Catalogue of Early Modern Prints.

OLD & MASTERFUL

A CATALOGUE of E A R LY M O D E R N P R I N T S Sanders of Oxford

Antique Prints & Maps

All items are guaranteed to be genuine.

A full refund will be given for any item found not to be as described, provided it is returned undamaged within 14 days and any work returned must be sent by registered, prepaid, ďŹ rst class post (airmail overseas) and must be fully insured.

All items are in good condition unless otherwise stated. Sizes are given in millimetres.

Prices are nett and do not include postage. All orders will be sent by registered mail, by air to overseas customers unless instructed, at the customer’s expense. Any importation or customs charges will be the responsibility of the customer.

Payment must be made in British Pounds Sterling, either in person or bank transfer (all banking administration and transaction fees to be paid by the customer). We also accept Visa, Mastercard, Switch, and American Express.

The title of the goods does not pass to the purchaser until the amount has been paid in full.

For full Terms & Conditions please visit: https://www.sandersofoxford.com/terms-conditions/

Old and Masterful A Catalogue of Early Modern Prints From Wednesday 24th October 2018.

Sanders of Oxford is pleased to present a catalogue of prints by and after Old Masters. Although we have always stocked a selection of early modern prints this is our ďŹ rst dedicated catalogue to focus on this part of our collection, featuring etched and engraved works from the 16th and 17th century.

All works are available to purchase and will be on display in the gallery.

Sanders of Oxford.

Antique Prints & Maps Salutation House 104 High Street Oxford OX1 4BW www.sandersofoxford.com - 01865 242590 - info@sandersofoxford.com Monday - Saturday 10am - 6pm. Sundays 11am - 5pm.

Contents

Pg.

01-10: Portraits

08

11-20: Religious

30

21-30: Fine Prints

52

Biographies: Artists, Printmakers, & Publishers

74

Old and Masterful A Catalogue of Early Modern Prints

Because this catalogue is all about Old Masters, it seems fitting to open with depictions of some of the artists themselves. These portraits were often executed by their friends and colleagues, as is the case with Van Dyck’s portrait of Lucas Vorstermans (2), and Hondius’ portrait of Lucas van Leyden (1). Other great examples include the portraits of Hieronymus Bosch (3) and Joris Hoefnagel (4), from the “Pictorum Aliquot Celebrium”, a contemporary publication by the Antwerp publisher Hieronymus Cock, highlighting the most important artists of the Low Countries. The connections and relationships between these artists and engravers are further explored in the descriptions in this catalogue and in the artist’s biographies in the appendix.

Religion was a principal part of life in Early Modern Europe, and this provides the backdrop for the second area of study within the catalogue. The church was often a patron of the arts, and many parts of Europe were Catholic. There is, therefore, an abundance of religious prints from the period representing stories from the bible, such as Jost Amman’s Lives of Adam and Eve (19) and depictions of Christ’s Passion (13, 15). At the same time however, rising tensions between Catholicism and Protestantism are evident when we dissect the multi-layered themes in prints such as The Christian Knight (11), the Idolatry of Solomon (17) or Christoffel van Sichem’s portrayal of Faust and Mephistopheles (12), in which the latter looks suspiciously similar to the Reformist leader Martin Luther.

The catalogue concludes with a collection of some of the finest engravings we have been able to source from various collections across Europe. As a new class of wealthy merchants and traders started commissioning works of arts, their taste resulted in the creation of new themes and tropes.

Examples of this are decorative sets, depicting the different seasons (25), senses (22) and elements (23, 24). Meanwhile ideas of humanism and renaissance were brewing amongst Europe’s intelligentsia, which brought about allegorical works such as Hans Sebald Beham’s Dialectica (27) and Raphael’s School of Athens (30).

PORTRAITS

1. [Portrait of Lucas van Leyden] Esme de Boulonois after Hendrik Hondius I Copper engraving [Jean-François Foppens, Brussels, c. 1682] Image 177 x 128 mm, Plate 180 x 133 mm, Sheet 190 x 140 mm A half-length portrait of Lucas van Leyden, turned slightly to the left, wearing a large feathered hat, elegant clothing and a cloak. He is holding a skull to his chest, has it partly tucked under his cloak, and gestures to it with his left hand. The skull is used here as a memento mori (remember you must die), which has the young artist, already dead for over 150 years by the time the portrait was produced, seemingly contemplating his own mortality. Lucas van Leyden’s well known artist’s monogram “L”, is added to the bottom right corner.

Lucas van Leyden (c. 1494-1533) was a prolific Dutch painter, draftsman and engraver, who lived and worked in Leiden. His style of engraving was heavily influenced by Albrecht Dürer, who he met in Antwerp in 1521. It is speculated that Dürer might even have given Van Leyden an introductory course into etching at that time. The use of copper instead of iron plates, which made it possible to combine etching and engraving on the same plate, is thought to have been an invention of Van Leyden at a later stage in his career. After Lucas van Leyden’s death, many of his plates were bought by Martin Petri and used to produce reprints.

Illustration to Isaac de Bullart’s “Académie des Sciences et Arts contenant les vies & eloges historiques des hommes illustres”, first published by Jean-François Foppens in 1682. Bullart (1599-1672) was a French author and poet, who produced several biographical reference works such as the abovementioned and “Peintres Illustres du Pays Bas”.

Esme de Boulonois (fl. 1645-1681) was a French engraver, printer and possibly publisher, active in Paris.

Van Someren, 3357; Muller, II, undescribed.

Condition: Excellent impression. Slight overall time toning. Repair to top right corner. French and Latin text and ornamental design on verso. Framed.

[46007] £200 10

2. Lucas Vorstermans Anthony van Dyck Etching [Gilles Hendrick, Antwerp, c. 1640] Image 222 x 150 mm, Sheet 242 x 152 mm From the series “Iconographie” or “Icones Principum Virorum”, both published between 1630 and 1641.

Inscription below image: “Lvcas Vorstermans Calcographvs Antwerpiæ in Geldrie Natvs” Inscription to lower left corner: “Ant. van Dyck fecit aqua forti” Lucas Vorsterman (1595-1675) was a Flemish engraver, active in Antwerp. He worked in Pieter Paul Rubens’ studio from c. 1617 and soon became the painter’s primary engraver. Rubens was a very demanding employer and got in a fight with Vorsterman, after having fired many of the other engravers resulting in more pressure landing on Vorsterman’s shoulders. In 1624 Vorsterman moved to England, working for patrons such as Thomas Howard, 2nd Earl of Arundel and Charles I of England, before returning to Antwerp 1630. Back in Antwerp he collaborated with Anthony Van Dyck, for example on the publication of artists’ portraits in “Iconographie”.

Anthony van Dyck (1599-1641) was one of the most prominent Flemish Baroque artists. Born in Antwerp, he was a pupil of Hendrik van Balen, but was soon noticed by Rubens with whom he would work closely during his early career. Van Dyck became a master of the St Luke Guild in 1618, went on to paint in Italy from 1621-1626, and then worked predominantly in England from 1632 onwards, where he was knighted by Charles I. Van Dyck was very prolific, he produced many portraits for members of the European aristocracy, as well as religious and mythological paintings and works on paper.

New Hollstein, Van Dyck, 12, vii/vii.

Ex. collection Reverend J. Burleigh James from Knowbury Park in Shropshire, c. 1921, collector’s mark (L.1425).

Condition: Trimmed just outside printed border and below inscription space without loss. Slight overall time toning. Small nick to bottom margin. Old hinging tape and collectors mark to verso.

[46162] £300 12

1. Hieronymo Boschio, Pictori Cornelis Cort Copper engraving [Theodoor Galle, Antwerp, c. 1601-1633] Image 147 x 120 mm, Plate 192 x 122 mm, Sheet 287 x 216 mm A half-length portrait of Hieronymus Bosch, slightly turned to the right, wearing a loose doublet and a cap. From “Pictorum Aliquot Celebrium Praecipuae Germaniae Inferioris Effigies”, first published by Volxcken Diericx in Antwerp in 1572. This is from the third edition, published by Theodoor Galle in Antwerp circa 1600.

The portrait features nine Latin verses, written by the poet Dominicus Lampsonius. The poem translates to: “What does it mean, O Hieronymus of s-Hertogenbosch, that surprised eye of yours? Why that pale face? Is it because you have seen the flying spirits and phantoms of Erebus with your own eyes? I would almost believe that the hiding place of Dis has been revealed to you, and even the castles of Tartarus, when your right hand can paint so excellently, everything inside the den of Avernus.”

Inscription to top: “Obijt Siluæ ducis in patria circa an. 1500” and “3” to the top right corner.

Inscription below image: “3 HIERONYMO BOSCHIO, PICTORI. Quid sibi vult, Hieronyme Boschi, Ille oculus tuus attonitus? ... Tam potuit bene pingere dextra” and to bottom left corner of this margin: “Th. Galle excud.”

Hieronymus Bosch (c. 1450-1516) was a Netherlandish painter, active in ‘s-Hertogenbosch. His works were satirical and moralistic, and stand out because of Bosch’s complex symbolic iconography, often featuring demons, hybrids of humans, machines, animals or other fantastical creatures.

Cornelis Cort (1533-1578) was a Dutch printmaker, who probably apprenticed with Dirck Volckertsz. Coornhert and later with Hieronymus Cock. He moved to Italy in 1565, collaborating with Titian in Venice and working on several commissions in Rome and Florence.

Theodoor Galle (1571-1633) was an Antwerp printmaker and publisher. He was the son of Philips Galle, and brother of Cornelis Galle the Elder. In 1596 Theodoor became a member of the St Luke Guild in Antwerp and travelled to Italy with his brother. Theodoor took over the workshop after their father’s death in 1612. His marriage to the daughter of Jan Moretus established a collaboration between his workshop and the Plantin Press. Theodoor also introduced the workshop to the idea of reissuing engravings and books published by printmakers in the previous decades.

New Hollstein Dutch, Cornelis Cort, 223, iii/iii.

Condition: Strong impression. Slight wear to the plate and ink offset to the lower left margin. Minor time toning, mainly to the edges of the sheet. Part of a watermark featuring a shield and initials.

[46043] £175 14

4. Georgius Hoefnaglius Hendrick Hondius Etching [Hondius, Antwerp, c. 1610] Image 160 x 122 mm, Plate 215 x 125 mm, Sheet 217 x 130 mm A quarter-length portrait of Joris Hoefnagel, turned to the right, wearing a fine doublet with decorative slits and a lace collar. He is holding a small portrait in his left hand, behind him a vase with flowers on a windowsill and a view of a mountainous landscape. From Hondius’s “Pictorum Aliquot Celebrium Praecipuae Germaniae Inferioris Effigies”, a series of artists portraits, first published in 1610 and later republished by Johannes Janssonius in 1612 and 1618.

The complete series consists of 72 plates, etched by Hondius, Simon Frisius, Robert de Baudous and Andries Stock.

Hondius reversed and elaborated on the designs from Hieronymus Cock’s “Pictorum Aliquot Celebrium Germaniae Inferioris Effigies”, published in 1572 by Cock’s widow, Volckxen Dierickx.

Inscription below image: “GEORGIUS HOEFNAGLIUS PICT. ANTVERPIANUS Doctrina excultus se offert Hoefnaglius ille, Cosmographo docto et Ortelio. Hic Orbem, ille Urbes dedit Orbi ingente Theatro, Et pinxit flores brutaque qui varia” Joris Hoefnagel (1542-1601) was a Flemish painter and engraver, the son of a diamond merchant. He made detailed, naturalistic designs featuring animals, insects and plants as the last important manuscript illuminator, while his engravings (especially for Braun’s “Civitates orbis terrarum”, 1572, and Ortelius’s “Theatrum orbis terrarum”, 1570) earned him a seminal place amongst the early topographical draftsmen.

Hendricus Hondius or Hendrik Hondius I (1573-1650) was part of a Dutch family of printmakers from Flemish descent, and was active as an engraver, etcher and draftsman in The Hague. He travelled to work in Amsterdam and Leiden around from 1603 to 1605, but then settled permanently in The Hague, in his “Buitenhof Ten Huyse”. He had a cousin with the same name, active in Amsterdam, and the distinction between the two is made by naming the first one Hendrik Hondius I and the cousin Hendrik Hondius II (c. 1597-1644), which often leads to confusion in literature about them having a father-son relationship.

New Hollstein, Hondius, 90.

Condition: Strong impression. Slightly worn plate. Minor ink offset, mainly to plate mark. Trimmed close to platemark.

[46052] £150 16

5. Ornatiss. Et Expertiss. Emanuel Sweertius Septimont. Batavus Ætatis Vita Hominum Flos Est [Anonymous] Copper engraving [c. 1612] Image 189 x 139 mm, Plate 250 x 143 mm, Sheet 397 x 267 mm A rare half-portrait of Emanuel Sweerts, turned slightly to the left, wearing a fine doublet and cloak, resting one hand on a skull and holding up a flower in his other, with a pine cone and a shelled horse chestnut on the table before him. The portrait is framed in an oval border with decorative side margins. From a Latin edition of Theodor de Bry’s “Florilegium novum”, a very popular publication after Sweerts’ “Florilegium”. De Bry reused many of Sweerts’ plates, his “Florilegium novum” was first published in 1612, had several editions in Latin, Dutch, French and German and was republished from 1641 until 1176.

Inscription below image: “Ad EMANVELEM SWEERTSIUM Batavum Septimontium principem Rhizotomum Epigramma Si florum vivas orbi exhibuisse figuras Viuere perpetuo est Quin decet ut. uiuas post busta his floribus orbi Perpetuo effigie. A. CLVTIVS” Emanuel Sweert or Sweerts (1552-1612) was prefect of the gardens of the Emperor Rudolf II in Prague. His Florilegium was first printed in Frankfurt by Kempner in 1612 -1614. It was originally intended as a sales catalogue for plants and bulbs from Sweert’s gardens, to be sold at fairs in Frankfurt and Amsterdam, but unfortunately he died the same year. Now these very attractive engravings are regarded as fine examples of 17th century botanical illustration and are much collected.

Condition: Excellent impression with full margins. Minor ink offset to plate. Slight overall time toning, small stain to centre right. Latin letterpress on verso.

[46045] £300 18

6. Le fils de Rembrandt Ignace Joseph de Claussin after Rembrandt Etching [Henri Louis Basan, c.1810] Image and Plate 95 x 68 mm, Sheet 116 x 86 mm Half-length portrait of Titus van Rijn, slightly turned to the left, wearing a beret. Copy in the same direction after a 1656 print by Rembrandt, the father of the sitter, probably by Ignace Joseph the Chevalier. Titus is portrayed at 14 years old, around the time he started to manage his father’s business after their bankruptcy.

Titus Rembrandtsz. van Rijn (1641-1669), was the fourth child of Rembrandt and his wife Saskia, and the only one to reach adulthood. Saskia died shortly after giving birth to Titus however, probably from tuberculosis. She had come from a rich patrician family, and left Rembrandt her fortune on the condition that he did not remarry.

Despite this, Rembrandt had to declare bankruptcy in 1656, due to his lavish spending habits combined with the financial crisis in the Netherlands after the Anglo-Dutch War. Titus, then 14 years old, opened up a business selling his father’s paintings, together with Rembrandts long-time lover Hendrickje Stoffels, and on his own after Hendrickjes death in 1663. He was also active as a draftsman, but his art dealership in Amsterdam remained his priority. Titus died one year before his father, during a plague in 1668.

Rembrandt Harmenszoon van Rijn (1606-1669) was a Dutch painter and etcher. He is generally considered one of the greatest painters and printmakers in European art history, and was active during the Dutch Golden Age. He started as a portrait painter, and is well known for his self-portraits, even though the majority of his work consists of biblical and historical pieces. He first started experimenting with etching in 1628, which would become his main focus from 1642 to 1652. He produced over 300 etchings and often made changes to the plates during the printing process, resulting in many different states.

Chevalier Ignace Joseph de Claussin (1766-1844) was French collector of Rembrandt etchings. He was also an amateur etcher, producing a number of works after Rembrandt.

Hind, 261; New Hollstein, Rembrandt, 297, copy b.

Condition: Minor overall time toning. Pencil inscription with Hind reference in lower left margin and old eligible ink inscription lower right margin. Tipped to an album page.

[46000] £150 20

7. Vencelas Hollar Wenceslaus Hollar Etching [1647, early 18th century impression] Image 128 x 90 mm, Plate 140 x 100 mm, Sheet 248 x 193 mm A bust-length self-portrait of Wenceslaus Hollar in a decorative border featuring his family crest. Hollar is forty years old here, turned slightly to the right, wearing a black doublet with flat white collar and tussles. This impression is the seventh state, with reworking to the artists hair and Odieuvre’s address erased, but inscription below image still present.

Inscription to top: “Ætatis 40. 1647” Inscription below image: “Scipsum Sculp. VENCESLAS HOLLAR Desinateur et Graveur, né à Prague, en Boheme en 1607” Wenceslaus Hollar (1607-1677) left his native Prague in 1627. He spent several years travelling and working in Germany before his patron, the Earl of Arundel brought him to London in 1636. During the civil wars, Hollar fought on the Royalist side, after which he spent the years 1644-1652 in Antwerp. Hollar’s views of London form an important record of the city before the Great Fire of 1666. He was prolific and engraved a wide range of subjects, producing nearly 2,800 prints, numerous watercolours and many drawings.

Ex. album Lord Bolton, c. 1907 New Hollstein, Hollar, 985, viii/viii; Pennington, 1420 vii/viii.

Condition: Strong impression with wide margins. Slightly worn plate. Minor ink offset, mainly to plate mark.

Crease in lower left margin corner not affecting the image.

[46057] £100 22

8. [Young Woman Wearing A Feathered Cap] Wenceslaus Hollar after Hans Holbein the Younger Etching A: A: Bierling excud: 1647 Image and Sheet 131 x 88 mm A bust-length portrait of a young woman, turned to the right, wearing a plumed hat over a jewelled cap, a dress with embroidered collar and necklace.

Inscription below image: “HHolbein inve: WHollar fec: A: A: Bierling excud: 1647” This print was published by Adam Alexius Bierling (1625-1675), an artist and art dealer who was active in Antwerp and worked closely together with Wenceslaus Hollar.

Pennington,1550 iii/iii; New Hollstein, 984.I, Hollar, iii/iii.

Condition: Good impression with minor time toning and foxing. Trimmed within plate mark and grangerized into an album sheet. Minor damage to the sheet at lower right corner of margin. Framed.

[46004] £150

24

9. Ioannes Holbenivs. Pictor Regis Magnæ Britanniæ Svi Cæcvli Celeberrimvs Anno 1543 Ætat: 45 Lucas Vorsterman I Copper engraving Franciscus vanden Wyngaerde excud. Antu [Antwerp, c. 1624-1679] Image and plate 152 x 118 mm Portrait of Hans Holbein the Younger by Vorstermans, after a self-portrait at 45 years old. Published in Antwerp by Frans van den Wyngaerde.

Inscription below image: “Egregius pictor magno ... tua non capitur” Hans Holbein the Younger (1497-1543) was a painter, draughtsman and designer of woodcuts. He also worked with glass-paintings, metalwork, and jewellery. Holbein was born in Augsburg. He worked in Basel as a journeyman at the end of 1515, and was first employed there with Ambrosius by humanist scholars and their printers. In 1519, he was admitted to the painters’ guild. With an introduction from Erasmus to Sir Thomas More, he left for England at the end of August 1526, and stayed for two years working in the court circle, before returning to Basel. He returned to England in 1532, and, under the patronage of Henry VIII, he produced a succession of magnificent portraits. The most famous of which was the mural painting glorifying the Tudor dynasty in the Whitehall Palace. It was regrettably destroyed in the fire of 1698.

Hollstein Dutch and Flemish, Lucas Vorstermans, 162.

Condition: Trimmed close to plate mark.

[46439] £180 26

10. Marfisa after Guilio Romano Copper engraving [Italy, c. 1550-1599] Image 195 x 133 mm, Plate 200 x 137 mm, Sheet 212 x 155 mm A bust of Marfisa, a fictional Asian warrior queen from Ludovico Ariosto’s Orlando Furioso; an epic Italian poem composed as a continuation of Matteo Maria Boiardo’s unfinished romance, Orlando Innamorato. In the story Marfisa (or “Marphisa”) falls in love with the knight Ruggiero, unaware that he is her brother from who she had been separated as a child, until everything is revealed by the sorcerer and seer Atlantes. She also learns that her parents were Christian, which prompts her to convert and to join Charlemagne’s army in fighting against the Saracens.

Marfisa is depicted wearing a knight’s armour with an ornamented helmet, with a closed visor, and the top decorated with feathers. This print is part of a series of twelve busts depicting characters from Ludovico Ariosto’s Orlando Furioso. The engravings were produced after designs by Jacopo and Ottavio Strada’s workshop. The design for this specific print has been attributed to Guilio Romano. (Miller, E., 16th-century Italian ornament prints in the Victoria and Albert Museum, London, 1999, 201) Guilio Romano (1499-1546) was an Italian painter, draughtsman and architect from Rome. He apprenticed with Raphael from 1515 until the master’s death in 1520. A few years later he was appointed as court painter and moved to Mantua, were he would stay for the rest of his life.

Condition: Excellent impression. Light foxing. Slight ink offset and slight wear to the plate.

[46018] £175 28

RELIGIOUS

11. [A Christian Knight] Pieter Serwouters after David Vinckboons I Copper engraving Abrahamus Regius, 1614 [Amsterdam] Image 292 x 355, Sheet 300 x 373 mm A Christian Knight, surrounded by personifications of the sinful World, the temptations of the Flesh, a heathen and the Devil.

In the Bible passage, referenced in the inscription, the apostle Paul describes how humans have to constantly fight temptation during their lives, and that they can do so by putting on God’s armour. In the sixteenth and seventeenth century, the knight wearing God’s armour became a popular theme, after 1504 when Erasmus Desiderus published “Enchiridion militis christiani”, a handbook for the Christian Knight. The strangely specific iconography of this print, and the inscription in the bottom margin, also point to the poem “Hymnus of lofzangh vande Christelycke ridder” (”Ode to the Christian Knight”) as a source of inspiration. The personal connection between Joost van den Vondel, the author of the poem, and Abraham de Koning, who conceptualised the design of this print, also favours this interpretation.

In the poem, the author has a dream-like vision of God, who calls on his bravest knight. God tells the knight to prepare for a battle of the mind and offers him a full set of protective armour. Before God sends off his knight, he has Lady Wisdom explain the meaning behind all the components of the armour: The helmet symbolises the hope for eternity in heaven; The shield protects from Satan’s tempting arrows, (on the print, the shield is decorated with a depiction Abraham’s sacrifice); The sword is God’s Word; The lobster on the breastplate symbolises justice; The sandals are fit for a royal; Finally, the cornerstone the knight stands on, is a pedestal made for him by Christ, as he is Christ’s champion.

The poem then continues to describe the challenges the knight has to face, all of which have been allegorised and depicted within the print; The knight’s first challenge is to refuse the many gifts a woman, also known as the World, will offer him. The World is depicted standing amongst a treasure chest and bags of gold, wearing a luxurious gown and holding a feathered fan. As soon as the knight has turned her down, another woman appears before him. She represents the Flesh, and tries to seduce the knight with the pleasures of the senses. She has long flowing hair, bared breasts and is holding a snake and apple, both attributes referring to Eve and the Fall of Man. The knight strikes this woman down, and she is shown on the print sprawled by his feet. When the knight has defeated the Flesh, an elderly man approaches him.

The man is wearing thick glasses and a monk’s habit with Greek inscriptions on its seem. He is standing on top of two large books, and according to the poem, he is reading aloud from the book in his hand, telling the knight that there is no life after death. This man represents the Heathen, and his attributes, together with the two vials attached to his belt, suggest that he might even be a sorcerer. Finally, the Devil appears before the knight, depicted in his full form with a monstrous face, horns, hoofed feet and wings. The Devil aims three arrows at the knight, but the knight prevails, after which a putto descends from heaven to crown him with a floral wreath and to offer him a palm leaf.

Hollstein Dutch and Flemish, Schillemans-Seuler, 10.

Condition: Excellent impression. Pressed faint centre fold. Minor overall time toning, minor stain to top centre.

Trimmed to plate mark at bottom margin. Inscriptions in pencil on verso.

[46022] £1,500 32

Inscription to banderole at top left: “Clarissimo, doctissimog; viro D Joanni Polyandro. SS Theologiæ eximio Professori, cognato suo omni observantia colendo, consocrat Abrahamus Regius”, a dedication by the publisher Abraham de Koning to Johannes Polyander (1568-1646), a Dutch Calvinist theologian.

Inscription to banderole at top right: “Propterea accipite universam armaturam Dei, ut possitis resistere in die malo et in omnibus perfecti stare. Ephes. 6. v. 13”, quotes a verse from Ephesians in the New Testament, in which the apostle Paul writes to the Christian community in Ephesus, that he helped grow during his missionary time.

Inscription of eight Latin verses in four columns to bottom margin: “In me quid rabida sævitis mente Tyrannis ... Dux, idemque Triumphus”, these verses are presented as a statement by the Christian Knight himself. Freely translated he says: “How you rage against me, Tyrants! The wound feeds love, and I will not budge, aim at my body, aim at me, I will not budge: throw your flaming arrows, You with your heathen companion, O evil Devil! Three times I refuse your gifts, you lying World: Begone, O Flesh, never will I succumb to your wishes; Flee, O Sin, flee from here to Hell, O Death: Christ is my liege and Victory”.

12. [Dr. Faust and Mephistopheles] Christoffel van Sichem I Copper engraving [1608] Image 156 x 125 mm, Plate 158 x 127 mm, Sheet 251 x 183 mm A depiction of the meeting between Faust and Mephisto, illustrating the German folklore legend of Doctor Faustus.

Faust was a theologian who became interested in black magic. The celestial globe and book with inscription “Nigromantia” on the table behind him refer to his interests in astrology and necromancy. He is shown in conversation with Mephisto, a demon with whom he strikes a deal: in exchange for a lifetime of knowledge and power, he promises to go to hell when he dies. In the background several instances are shown where Faust is at work, trying to reach his potential as a scholar with his new found power, while Mephisto ends up distracting him. Faust is wearing a finely embroidered cloak, a scholar’s cap and a lace ruff, all marks of a wealthy fashionable man. Mephisto on the other hand is dressed as a cleric, and looks strikingly similar to depictions of Martin Luther. This resemblance would not have been out of place, since Martin Luther was seen by many, Roman Catholics and Protestants of different convictions alike, to be leading people astray and towards damnation. Luther was very adamant that the Bible should be read and studied by everyone, and that the text has more authority than any priest or church official. The negative view of Luther would have resonated with the confession of Mephisto at the end of Marlowe’s play, where the demon confesses to have manipulated Faust into interpreting the Bible in the way he wanted and that this is how he was able to lead Faust away from God. Mephisto seems to be in the middle of a discussion with Faust, as they are both gesturing animatedly. Mephisto is holding a book, a bell and paternoster, and has another book in his pocket, all elements that bring up images of Martin Luther going out to preach in the streets and holding up the bible when debating with church officials in Leipzig and Worms. Martin Luther was a contemporary of the historical figure Faust is based on, and unlike humanist scholars of the day, many Lutherans believed in the man’s evil magical powers. This print was later republished in Wilhelmus Goeree’s “Het tooneel der Hooft-Ketteren” (”Theatre of the Main Heretics”) in 1677.

The Faust legend began as a precautionary tale used by Roman Catholics, against the growing popularity of Protestant and Reformist thinking in Germany. It lived on through the publication of the first Faustbuch in 1587, which was translated to several languages and spread across Europe. An English translation of the text from 1592 became the inspiration for Christopher Marlowe’s 1604 play Doctor Faustus, which would have been popular when this print was produced. Later, Faust had a romantic revival and became cemented in the European imagination through the publication of Goethe’s Faust in 1808 (and the second part in 1832). Unlike the simple Christian morality in the original versions of the Faust story, Goethe’s presentation of the Doctor’s destructive search for arcane knowledge is far more subtle, and ultimately holds hope for the salvation of a flawed and melancholic protagonist.

The story was based on the historical figure of Johann Georg Faust (c. 1480-c. 1540), who was well travelled but not well liked. Rumours spread about his interest in “evil” things such as necromancy and sorcery, his study of the theological and diabolical, and often referring to the devil being his “Schwager” (which can be interpreted as brother-in-law or buddy, but was more likely meant as boyfriend, and relates to his reputation as a homosexual).

Christoffel van Sichem I (c.1546-1624) was a Dutch printmaker, draftsman, and publisher who mainly lived and worked in Amsterdam. He was the father of Christoffel van Sichem II and grandfather of Christoffel van Sichem III, who both followed in his artistic footsteps. He was a prolific engraver, producing many portraits and small bible illustrations.

Hollstein Dutch and Flemish, Sichem, XXVII, 51.

Condition: Excellent impression. Slight overall time toning.

[46021] £450 34

13. Flagellation of Christ Adriaen Collaert after Maerten de Vos Copper engraving Ioan Galle excud. [c. 1638] Image 162 x 213 mm, Sheet 175 x 215 mm The Flagellation of Christ from the series “Vita, passio et Resurrectio Iesu Christi”. Christ is bound to a pillar, being beaten by two soldiers, one holding a whip and the other bushels of branches, while several other soldiers are watching.

Inscriptionbelow image: “Vulneratus est propter iniquitates ... liuore eius sanati sumus. Isai.53”and numbered “41” in bottom left corner.

Adriaen Collaert (1560 - 1618) was a Flemish engraver and an important publisher, active in Antwerp. He was a member of the Guild of St Luke, and worked with Gerard de Jode, Eduard Hoeswinckel and Hans van Luyck. His works are known for their anatomical correctness as well as its physiognomical expressiveness. Some of his original plates are engraved with a cipher.

Maerten de Vos (1532-1603) was a Flemish painter and draughtsman. He was a pupil of his father Pieter de Vos and a follower of Frans Floris in Antwerp. Between 1550 and 1558 he travelled in Italy, visiting Rome, Venice and possibly Florence. In 1558 he became a master of the Antwerp Guild of St Luke. Between 1571 and 1572, he was dean of the Guild. From 1575 he mainly produced print designs. He was the father of the artists Daniel de Vos (1568-1605) and Maerten the Younger (1576-1613).

New Hollstein, The Collaert Dynasty, 214, iii/iv.

Condition: Good impression. Trimmed outside printed border. Minor rubbing to corners. Pressed creases to centre.

[46093] £120 36

14. Job Receiving the Ill-News of his Misfortunes Philips Galle after Maarten van Heemskerck Copper engraving [Antwerp, 1563] Image 190 x 240 mm Job has torn his clothes and ripped out part of his hair, has fallen to the ground, and is grovelling before four messengers. Each of them has come to Job baring bad news. The first has come to tell Job that his farmers were attacked and Job’s herds of donkeys and oxen were stolen by the Sabeans. The second tells Job that his servants and sheep were killed in a fire. The third states that the Chaldeans stole all of Job’s camels. Finally the fourth messenger brings the news that the house of his oldest son collapsed when all of Job’s children were gathered there together for a dinner, and none of them survived. All of these tragedies are depicted in the background of the scene, while each of the messengers wears clothing and attributes indicating their roles, such as a sheepskin hat or an amphora. From Galle’s “The Story of Job” after designs by Maarten van Heemskerck.

Philips Galle (1537 - 1612) was a Dutch engraver, printmaker, and publisher, particularly celebrated for his reproductive engravings of original works by Hieronymus Cock, Maarten van Heemskerck, Johannes Stradanus, and other Dutch and Flemish masters. Galle’s success as an engraver and publisher put him in close contact with many of the late sixteenth century’s most important figures, including Ortelius, for whom he produced numerous plates, as well as Christopher Plantin, his students Hendrick Goltzius, Adriaen and Jan Collaert and others. Following his work on Ortelius’ Theatrum Orbis Terrarum, Galle produced a series of miniature maps after Ortelius’ originals, which he published, potentially without the permission of Ortelius, as the Spieghel der Wereld, the first miniature atlas.

Maarten van Heemskerck (1498-1547) was a Dutch painter and printmaker. He apprenticed in Haarlem with Jan van Scorel and travelled to Italy from 1532 to 1537. He had a very successful career in Haarlem upon his return. As a printmaker he worked exclusively as a designer, collaborating with engravers such as Philips Galle, Cornelis Bos, Dirk Coornhert and Theodor de Bry, often through association with Hieronymus Cock and other publishers.

New Hollstein, Galle, 59; New Hollstein, Heemskerck, 163.

Condition: Good impression. Slight overall time toning and minor foxing. Trimmed within plate mark, inscription missing.

[46211] £120 38

15. Crucifixion Willem de Haen after Albrecht Dürer Copper engraving [c. 1611] Image and Plate 111 x 70 mm, Sheet 114 x 74 mm A fine copy of Dürer’s Crucifixion, from a first edition of De Haen’s Passion, with 16 engravings after Dürer’s Engraved Passion. Christ is depicted on the cross, bereaved by his mother Mary and St. John, and by the others in the background. A soldier walks past from the right, and a skull is lying at the foot of Jesus’ cross.

Inscription to top: “Wilhelm Hanius fecit”.

Dated “1511” in cartouche at bottom left corner, referring to the original by Dürer, with his monogram to the bottom right.

Willem de Haen (fl. 1609-1625) was a Dutch printmaker and draftsman, who was mainly active in Leiden, Köln and Rome. He produced a set of engravings for a history of Leiden by Orlers in 1614 (”Beschrijvinge der stad Leiden”) and very fine copies of Dürer’s “Engraved Passion” series.

Albrecht Dürer (1471-1528) was a celebrated German polymath. Though primarily a painter, printmaker and graphic artist, he was also a writer, mathematician and theoretician. Born in Nuremberg, Dürer was apprenticed to the painter Michel Wolgemut whose workshop produced woodcut illustrations for major books and publications.

He travelled widely between the years of 1492 and 1494, and is known to have visited Martin Schongauer, the leading German painter and engraver at the time, at his studio in Colmar. In 1495, Dürer set up his own workshop in his native Nuremberg, and, by the beginning of the sixteenth-century, had already published three of his most famous series’ of woodcuts: The Apocalypse, The Large Passion, and The Life of the Virgin. Nüremberg was something of a hub for humanism at this time, and Dürer was privy to the teachings of Philipp Melanchthon, Willibald Pirkheimer and Desiderius Erasmus. The latter went so far as to call Dürer ‘the Apelles of black lines’, a reference to the most famous ancient Greek artist. Though Dürer’s approach to Protestantism was not as staunch as that of his fraternity, his artwork was just as revolutionary. For their technical virtuosity, intellectual scope, and psychological depth, Dürer’s works were unmatched by earlier printed work, and, arguably, have yet to be equalled.

Hollstein Dutch and Flemish, Willem de Haen, VIII, 208, 11.

Condition: Excellent impression. Trimmed close to plate mark. Part of a collection’s stamp to outer left. Latin text on verso.

[46013] £380 40

16. Æternitas [Anonymous] Etching and engraving [n.d. c. 1660] Image 167 x 118 mm, Plate 175 x 117 mm, Sheet 204 x 148 mm Æternitas or Eternity stands at the centre, personified as an angel, with a halo and wings. He is surrounded by his attributes, such as the large ring he is holding up with his right hand, the phoenix perched on his left hand, and the rooster standing near his feet. The crowing rooster refers to the Passion, foreshadowing Christ’s Resurrection. The phoenix is a mythical bird that continuously burns into flames at the end of his life, and is reborn from the ashes.

The ring symbolizes an unbroken chain, repeated in the ouroboros, or the snake biting its own tail, above Eternity’s head. At the top, Jesus descends to earth on a cloud, flanked by two trumpet blowing angels announcing the Last Judgement.

To the top left, a praying couple is guided by two angels, who point them to a vision of the Christ Child holding the cross. Next to them a skeleton is seen reading, which serves as memento mori (remember you will die).

Below this, a famously mistranslated line from The Parable of the Rich Young Ruler is depicted: “[…]it is easier for a camel to pass through an eye of a needle than for a rich man to enter the kingdom of God”, with three people trying to encourage a camel to jump through the eye of a needle. Closely relating to this, a tax collector is shown sitting at his desk behind a treasure chest, counting and weighing money. Tax collectors were described in the bible as being “spiritually sick”. The angel next to the tax colletcor, is most likely instructing him how to better his life.

To the top right, a king is crowning a queen, and a man is shown praying on his knees, with his harp lying next to him. This man is probably David, who was hired by King Saul to drive away the evil spirits tormenting the king, by playing his harp.

Just below this, a man inside a tree is reading an open book, he is wearing a strange headdress and a chalice stands on the ground next to him. The chalice suggests a link to the Holy Grail which grants the holder happiness, eternal youth and sustenance. In the Arthurian, the sorcerer Merlin, also gets trapped inside a tree during his quest for the Holy Grail.

Finally, the last vignette shows a man in hell, tormented by a devil, flames, snakes, a salamander, and a bird picking at wounds on his chest.

Inscriptions to top: “In omnibus operibus tuis, memorare nouissima tua, et in Æternum non peccabis Eccli. C. 7”, a verse from Ecclesiasticus often accompanying memento mori, meaning: “In all your works be mindful of your last end and you shall never sin”.

Inscription to banderole at top centre, underneath a flying skull: “Momentum vnde pendet” meaning as much as “depending on the present”.

Inscription to bottom centre, underneath Eternity’s feet: “Incuruati sunt colles mundi. ab. itineribus ÆTERNITATIS eius Habac. c. 3”, a verse from the third chapter of Habakkuk, which translates to: “The hills of the world were bowed down: by the ways of his eternity” This is a book-illustration from an unknown publication, probably a bible or even a religious treatise, since the inscription to the bottom margin indicates there are several volumes.

Condition: Strong impression. Slight overall time toning. Paper watermarked with a crown and two interlocking C’s.

[46029] £100 42

17. [The Idolatry of Solomon Virgil Solis after Georg Pencz Copper engraving [c. 1529-1562] Image 43 x 72 mm A copy in reverse of Georg Pencz’s The Idolatry of Solomon (c. 1529-1533). King Solomon is kneeling in front of a statue of a man holding a skull, while some of his many wives are looking at this display in obvious displeasure.

Solomon was described as a wise and wealthy king in the Old Testament, until he was persuaded at a later stage in life, by many of his foreign wives, to worship their pagan gods instead of the God of his father David. The richly dressed women depicted here are probably upset because they can foresee how Solomon’s change of faith will lead to many conflicts.

Virgil Solis (1514-1562) was a German printmaker and publisher, and the scion of a large family of Nuremberg artists. Solis produced illustrations on all manner of subjects, though he is best known for his biblical and classical scenes, particularly the large number of woodcuts which appeared in numerous sixteenth century editions of Ovid’s Metamorphoses.

Georg Pencz (c. 1500-1550) was a German painter and engraver active in Nuremberg and part of the Kleinmeisters (”Little Masters”), so called because they mainly produced small prints. He worked together with the brothers Hans Sebald and Barthel Beham. All of three of them were heavily influenced by the work of their contemporary, Albrecht Dürer (1471-1528), and might even have worked in his atelier.

Hollstein German, Georg Pencz, 15, copy in reverse.

Condition: Strong impression. Trimmed within plate mark.

[46015] £100 44

18. [Samson and Delilah] Virgil Solis after Georg Pencz Copper engraving [c. 1530-1562] Image 45 x 68 mm A copy in reverse of Georg Pencz’s Samson and Delilah (c. 1531-1532). The story of Samson and Delilah is told in the Old Testament, in the Book of Judges. Samson falls in love with Delilah, who is bribed by his enemies, the Philistines, to discover the source of his inhuman strength. Three times she tries to get his secret out of him.

Eventually he tells her that his strength has been granted to him by God. To prove his livelong dedication to God, he has never touched his hair with a razor, and Samson is sure his strength will leave him, if he ever shaves his hair off. Delilah is depicted here, after she has lulled Samson to sleep in her lap, and is about to cut of his hair with a knife. The army of Philistines is waiting in the background, ready to seize Samson as soon as he has lost his power.

Hollstein German, Georg Pencz, 21, copy in reverse.

Condition: Good impression. Trimmed within plate mark.

[46016] £120 46

19. [The Lives of Adam and Eve] Jost Amman Woodcut [Sigmund Feierabend, Frankfurt, 1580] Image and block 275 x 185 mm, Sheet 283 x 195 mm A densely engraved design with scenes from the lives of Adam and Eve, set in a landscape filled with luscious vegetation and various animals, such as a rabbit, deer, lion, stag, camel, wild boar, turkey, goat, and even a unicorn.

In the foreground, the Creation of Adam and Eve is depicted with a sleeping Adam, from whose ribs God has just shaped Eve. She is standing in adoration of God, who descends to earth on a cloud. At the centre, the serpent slides down the Tree of Knowledge, tricking Adam and Eve into eating from its Forbidden Fruit. Eve has already taken a bite from her apple and presents another one to Adam, who seems to hesitate. Behind this, the consequences from eating the fruit are clear, as Adam and Eve try to cover up their naked bodies and are about to be expelled from Paradise, as seen to the left. Once expelled from Paradise, they have to provide for their own food, and so Adam is shown toiling the earth and herding sheep. Finally, Cain is seen killing Abel, and fleeing the land of God. From Flavius Josephus’ “Opera”, a compilation of Josephus’ writings on Jewish history, starting from the Creation to 70AD, when the Jewish Revolts against Rome came to an end.

Flavius Josephus (c. 38-100) was a Jewish commander, who fought against the Romans during the Jewish Revolt in Galilee in 66AD and Jotapata in 67AD. He was defeated by Vespasian, who took him prisoner, but who Josephus ended up admiring so much that he chose the name “Flavius” upon being freed by Vespasian in 69AD. He followed Titus and the Roman army in the taking of Jerusalem and took Roman citizenship as he returned to Rome, where he wrote historical books on “The Jewish War”, “Jewish Antiquities”, “Against Apion” and even an autobiography.

Jost Amman (1539-1591) was a Swiss-German printmaker and publisher, born in Zürich, but working for the majority of his life in Nuremberg, where he was apprenticed to the woodcut artist Virgil Solis. One of the most prolific woodcut artists of the sixteenth century, Amman is believed to have drawn and cut over 1500 prints. He is particularly celebrated for his numerous biblical prints, and a series of Bavarian topographical views commissioned by the cartographer and mathematician Philipp Apian.

New Hollstein, Jost Amman, VII, 168.

Condition: Strong impression. Slightly worn block, with split to block at top right. Printers crease to right of image.

Old hinging tape to verso. Narrow margins. Framed.

[46065] £600 48

20. [The Last Judgement] Martino Rota after Michelangelo Copper engraving [Florence, 1569] Image and Sheet 311 x 228 mm The Last Judgement after Michelangelo’s fresco in the Sistine Chapel (created between 1533 and 1541).

Michelangelo’s design included over 300 figures, mostly half-naked men, with distinctive facial features which has led to much speculation on them being portrayals of historical figures. Christ is shown at the centre, with his mother Mary next to him, and directly surrounded by saints and martyrs such as St Peter, who is holding the Keys of Heaven, St Bartholomew carrying his own flayed skin, St Lawrence holding a gridiron, and many others. This close circle of saints is enclosed by even more people who are about to receive salvation, many of them are rejoiced, hugging and even kissing. Below this, angels are blowing trumpets, announcing the Second Coming of Christ and awaking the dead for them to be judged as well as the living. Some of them are carried up to heaven by angels, others are being driven off to hell by a demon in a boat or pulled down by snakes and devils. Above Christ, angels are presenting the instruments of his Passion, being the pillar where he was flagellated, the cross, a whip, a spear and a crown of thorns. These angels are flying underneath two arches, which have a bust portrait of Michelangelo at their centre.

Inscription to pallet at lower left corner: “Martinus Rota Sebenicensis F. 1569” Inscription to pallet at lower left: “Ill.mo et Rmo Dno ... Virtutum fautori. MR. DD” Martino Rota or Martin Rota Kolunic (c. 1520-1583) was born in Dalmatia, but spend most of his life working in Rome, Venice, Florence and Vienna. He was an artist of many skills, being a sculptor, painter and draftsman, but is best known today for his engravings. Rota produced mainly portraits and religious scenes.

Michelangelo or Michelangelo di Lodovico di Lionardo di Buonarroti Simoni (1475-1564) was born in Florence and apprenticed with Domenico Ghirlandaio. He left his apprenticeship after merely one year, having nothing more to learn. He was taken under the wing of Lorenzo de Medici, and studied his patron’s collection of Roman sculptures. Michelangelo’s fame grew exponentially after he finished his David in 1504, and was asked to come to Rome by Pope Julius II. He worked on the Pope’s tomb, and was commissioned to paint the ceiling of the Sistine Chapel. Michelangelo was one of the most important Renaissance artists and is still today regarded as one of the greatest artists of all time. Apart from being a painter and sculptor, he also wrote poetry and developed several architectural projects.

Bartsch, XVI, 260.28 Condition: Good impression, light overall time toning. Trimmed close to the image, minor nicks to bottom of sheet. Remnants of old mount hinging to top verso. Framed.

[46068] £700 50

FINE PRINTS

53

21. Color Olivi after Stradanus Copper engraving Phls Galle excud. [c.1591] Image 184 x 265 mm, Plate 205 x 268 mm, Sheet 286 x 363 mm An artist is at work in his studio, painting a large canvas featuring St George slaying the Dragon, while his pupils and assistants are grinding colours, mixing paint oils, practising drawing, and a noble lady is having her portrait painted.

Latin inscription underneath image: “COLOR OLIVI. Colorem oliui commodum pictoribus, Inuenit insignis magister Eyckius”, referring to Jan van Eyck (c. 1390-1441) as the inventor of oil painting.

The use of oil painting in Europe is recorded as early as the 11th century, but became more common during van Eyck’s lifetime, when materials such as linseed oil were better refined and easier to access, and artists started experimenting with different tempera-painting techniques. Van Eyck’s was able to play with light by building up the oil paint and varnish in multiple layers, which led to his signature style of realistic surfaces and minute detailing.

This is the fourteenth print of twenty from the series “Nova Reperta”, depicting “New inventions and discoveries”.

Stradanus executed the designs for the series, as commissioned by the Alamanni family. The series was first published

by Philips Galle, who is also thought to be the engraver of half the plates, including this one, while the other ten plates are attributed to Hans Collaert.

Jan van der Straet or Giovanni Stradano, more commonly known as Stradanus (1523-1605) was a Flemish mannerist painter and designer of prints and tapestries. Born in Bruges in 1523, he received early instruction from his father, went on to train in Antwerp under Pieter Aertsen and became a master in city’s Guild of St Luke in 1545.

He moved to Florence where he entered the service of the Medici Dukes and Giorgio Vasari. Collaborations with Hieronymus Cock and the Galle family resulted in many of his works, such as his popular series of hunting scenes, being published as copper engravings.

New Hollstein, Stradanus, 336, ii/iv.

Condition: Very good impression. Slight toning from previous mount, outside of platemark. Pressed centre fold as issued. Small ink stain to top of right margin, not affecting image. Tear to bottom left margin, well outside platemark, not affecting image. Framed.

[46006] £2,750 54

22. [The Five Senses] Crispijn de Passe the Elder Copper engraving and etching Crispijn van de Passe inuentor, sculpsit et excudit [c. 1590-1637] Images 162 x 225 mm, Sheets 189 x 229 mm A stunning set of five personifications of the senses: “Auditus” (sound), “Olfactus” (smell), “Visis” (sight), “Gustus” (taste) and “Tactus” (touch). Featuring Latin inscriptions by Matthias Quad.

“Auditus”: A woman is playing a lute, with a stag to her side. In the background, people are joining in with instruments or dancing, while more instruments are scattered on the ground before her.

Inscription reads: “Excipit ipsa sonos ... turba vuida Bacchi” and “Matthias Quadus ludeb”. The inscription connects this image to the months January and February.

“Olfactus”: A woman with flowers in her hair, is smelling a rose, while she is surrounded by more flowers in vases and two dogs to her right. In the background, people are strolling around a garden.

Inscription: “Et fouet, et recreat ... animus quia proditur inde” and “Matth. Quad. ludeb”. The inscription connects this image to the months March and April.

“Visis”: A woman is looking at her reflection in a mirror, while a large eagle hovers by her side. Measuring tools, glasses and masks are scattered around her on the ground. In the background, people are gathering for a play, procession and games.

Inscription reads: “Clara OCVLORVM acies nil ... cui non conceditur vsus” and “Matth. Quads ludeb”. The inscription connects this image to the months May, July and June.

“Gustus”: A woman sits next to a basket filled with fruit and is about to eat one of the pears. Next to her, a monkey is eating fruit from two more baskets, and farmers and fishers are shown in the background.

Inscription reads: “GVSTVS honore suo ... calcatis exprimic vuis” and “Matth. Quads ludeb”. The inscription connects this image to the months August, September and October.

“Tactus”: A woman wearing a large robe over her dress, holds up a bird which is nibbling her finger. Shells, a tortoise and crustaceans are scattered on the ground before her, while a large spider is spinning its web behind her. In the background, farmers are herding their animals, a noble couple is out for a stroll, a man is fishing and a small fire has broken out in the distance.

Inscription reads: “TACTVS habet sensusque ... tractantur frigore membra”. The inscription connects this image to the months November and December.

Crispijn de Passe the Elder (1564-1637) was a prominent Dutch engraver and the founder of a distinguished publishing house in Cologne, which produced portraits of European nobility, and religious prints amongst others.

The family were forced to leave Cologne because of their Anabaptist faith in 1589, moved to Keulen and later to Utrecht in 1611. Crispijn was the father of Simon, Crispijn the Younger and Magdalena van de Passe.

Hollstein Dutch and Flemish, Passe, 511-515.

Condition: Excellent impressions, trimmed within plate marks without loss to image or inscriptions. Minor even overall time toning.

[46091] £2,500 56

23. [The Four Elements] Raphael Sadeler I after Maerten de Vos Copper engraving [c. 1570-1632] Images 63 x 90 mm, Plates and Sheets 69 x 93 mm Set of four prints with personifications of the elements: “Ignis”, “Aer”, “Terra” and “Aqva”, reduced copies after the designs of Maerten de Vos, first engraved by Jan Sadeler c. 1560-1600.

Fire or “Ignis” is depicted as a woman holding lightning and flames in one hand and petting a salamander, the landscape behind her is overtaken by smoke and fire caused by an erupted volcano.

Air or “Aer” is shown as a woman whose hair is part of the clouds above her, she is surrounded by four putti blowing wind towards her, while a chameleon sits at her feet.

Earth or “Terra” is shown leaning against an overflowing fruit- and vegetables basket, and is holding flowers in her raised right hand, while there are more flowers woven into her hair. There are several animals depicted in the subtropical landscape all around her, such as a tortoise, frog, mouse, lizard, deer, and even what seems to be a small dragon.

Water or “Aqva” is depicted as a woman with reed woven into her hair, she is sitting on a sea bench, holding two amphorae, and pouring water and sea creatures into the ocean. Two geese are flying over above her, and from amongst the many creatures in the water, a friendly sea dragon is swimming towards her.

The brothers Jan Sadeler I (1550-1600) and Raphael Sadeler I (c. 1560-c. 1632) were part of a family with three generations of printmakers and publishers. They were originally based in Antwerp. Jan moved to Cologne in around 1579, and from 1588-1595 on the brothers worked together in Munich. Both left Munich in 1595 and moved to Venice via Verona. After Jan died in Venice in 1600, his son Justus took over the firm there. Raphael returned to Munich, but stayed in close contact with the Venice branch of the family.

Maerten de Vos (1532-1603) was a Flemish painter and draughtsman. He was a pupil of his father Pieter de Vos, and a follower of Frans Floris in Antwerp. Between 1550 and 1558 he travelled in Italy, visiting Rome, Venice and possibly Florence. In 1558 he became a master of the Antwerp Guild of St Luke. Between 1571 and 1572, he was dean of the Guild. From 1575 he mainly produced print designs. He was the father of the artists Daniel (15681605) and Maerten the Younger (1576-1613).

Hollstein Dutch and Flemish, Maerten de Vos, XLIV-XLVI, 1360-1364, copy d.

Condition: Excellent, clear impressions. Minor time toning to the edges of the sheets. Trimmed to plate marks with thread margins. Old glue stains, along with old inscriptions in pencil on verso. Framed.

[46020] £1,500 58

24. [The Four Elements] Raphael Sadeler after Antonio Tempesta Copper engraving [c. 1565-1634] Images 128 x 192 mm, Sheets 140 x 194 mm Set of four prints with personifications of the elements: “Ignis”, “Aër”, “Terra” and “Aqva”.

“Ignis” or Fire is depicted as a man riding a chariot with flaming wheels, drawn forth by four fire-blazing horses.

The man is holding flames in one hand and a burning phoenix in the other, the sun beams behind him and forms a sort of halo around his head, while his garb is blowing is the wind. A dragon is seen flying in the background, as an iguana crawls underneath the horses’ feet.

Inscription to lower margin: “Ignis anchelanti rabit ... orbis hic orcus erit” “Aër” or Air is shown as a woman riding the clouds, carried by the four blowing winds. She wears a crown with the moon and stars, holds a lizard in one hand and a bird in the other, and is surrounded by various types of birds and insects, flying and buzzing around her.

Inscription to lower margin: “Lucidus hic Aër vacua ... corpus inane quatit” “Terra” or Earth is depicted as a woman wearing a flower crown and holding a horn of plenty, while sitting in a carriage laden with fruit and vegetables. Her carriage is pulled by a lion and lioness, and all around various types of animals are depicted, such as a horse, stag, goat, elephant, rhinoceros, bull and many more.

Inscription to lower margin: “Terra ego fæcundo ... ubi quisq latet” “Aqua” or Water is shown as a woman on a reef, pouring water into the sea from a large jar, she is surrounded by sea monsters and mermen, and ships in the background.

Inscription to lower margin: “Summa mihi terras ... habet orbis Aqua” Antonio Tempesta (1555-1630) was an Italian painter and printmaker from Florence. He apprenticed with Stradanus, and moved to Rome circa 1580. He started working as a printmaker in 1589, making them after his own designs and often even publishing them himself. He specialised in views of landscapes and the city, as well as series of battles and hunting scenes, which were immensely popular.

Bartsch, Italian Masters, Tempesta, 800-804.

Condition: Good impressions. Slight overall time toning. Trimmed within the plate mark. Individually tipped to card.

[46064] £1,500 60

25.The Four Seasons Wenceslaus Hollar Etching 1641 Images 220 x 171 mm, Plates 247 x 175 mm, Sheets 250 x 180 mm Between 1641 and 1644 Hollar made no less than three sets of the seasons shown as women in fashionable dress, with anonymous erotic verses below. This is the earliest of the sets, featuring three-quarter length figures in an interior setting, wearing muffs against the cold or veils against the sun, and presenting seasonal flowers or fruit.

Although of vastly higher quality, they relate closely to the sets of allegorical female figures by George Glover and others.

Inscriptions in two columns, in Latin and English: “VER Iam decessit Hyems ... ora venusta decet / SPRING Ffurs fare you well ... we must not hide” “AESTAS Lenes æstivi ZEPHYRI ... flabra le vare solent / SVMMER In Sumer when wee ... depell the heate” “AVTVMNVS Convenere simul iam nostra ... veste vel igne cales / AVTVMNE Our joy and sorrow ... like mee you kepe it out” “HYEMS Cum deformis Hyems ... claro MVLCIBER igne tuo / WINTER Thus against winter ... not with sword but fire” Pennington, Spring 610 iv/iv, Summer 611 ii/ii, Autumn 612 i/ii, Winter 613 i/ii; New Hollstein, Hollar, II, 332335, Spring iv/iv, Summer ii/ii, Autumn i/ii, Winter i/ii; Antony Griffiths, ‘The Print in Stuart Britain’, BM 1998, 66.

Condition: Strong impressions, especially on the two earlier states, with slight overall time toning and foxing.

Trimmed outside the plates. Framed in period style frames.

[46005] £2,250 62

26. The True Maner of the Execution of Thomas Earle of Stafford Lord Lietenant of Ireland upon Towerhill the 12th of May 1641.

Wenceslaus Hollar Etching [London, c. 1641] Image 157 x 260 mm, Plate 188 x 268 mm, Sheet 308 x 384 mm unmounted A scarce print depicting the execution of Thomas Wentworth Earl of Stafford in front of the Tower of London, with an enormous crowd surrounding the raised platform where the execution is taking place, one of the stands collapsing under the weight of the spectators. The bishop Usher, the Lord Mayor, Stafford and his friends and family are on the stand, their names indicated through a reference key.

German inscription to lower margin: “Execution des Grafen ... anverwanten vnd freunde” New Hollstein German, Hollar, 331, iii/iii; Pennington, 552, iii/iii.

Condition: Good impression with wide margins. Minor hole to lower right of sheet, not affecting image. Pressed light centre fold.

[46199] £180 64

27. Dialectica Hans Sebald Beham Copper engraving [c. 1530-1550] Image and Plate 88 x 54 mm, Sheet 91 x 59 mm A personification of Logica, otherwise known as Dialectica, Dialectics or Trivium, one of the seven liberal arts idealised in humanist education, depicted here as a winged woman wearing a laurel wreath, holding a scroll in one hand and scales in the other.

Artist’s monogram to lower right “HSB” and numbered “2” to bottom right corner.

Hans Sebald Beham (1500-1550) was a German engraver and the most prolific of the Kleinmeisters (”Little Masters”), so called because they mainly produced small prints. He worked together with his brother, Barthel Beham, and Georg Pencz, and all were heavily influenced by the work of their contemporary, Albrecht Dürer (14711528), and might even have worked in his atelier. Beham produced a variety of allegorical, mythological, biblical and genre scenes and was active in Nürnberg and Frankfurt am Main.

Pauli, 124; Hollstein German, Sebald Beham, 124; Bartsch, 122.

Condition: Good impression. Trimmed close to plate mark. Various inscriptions on verso in pencil in different hands. Pin hole to left margin. Old hinging tape on verso. Framed.

[46014] £750 66

28. [Cartouche with Two Dragons] Stefano della Bella Etching [Veuve Langlois, Paris, 1647] Image 110 x 85 mm, Plate 120 x 92 mm, Sheet 123 x 95 mm An empty cartouche or shield, framed by two dragons, whose heads and tails are intertwined, and also have snakes and chains hanging from their tails. The eighth plate of twelve from Stefano della Bella’s “Nouvelles inventions de Cartouches”, a series of blank cartouches, published in 1647.

Stefano della Bella (1610-1664) was a Florentine etcher who worked for the Medici family. From 1633 onwards he was active in Rome and later worked with French publishers after visiting Paris in 1639. He was a very prolific etcher and made designs for a wide range of subjects.

Veuve Langlois (fl. 1647-1655) also known as Madeleine Langlois was the widow of a publisher, and took over the business near the Colonnes d’Hercules in Paris, after his death in 1647. She stopped trading however, after getting remarried in 1655.

De Vesme/Massar 1971 1022 Condition: Excellent impression. Slight overall time toning and light foxing. Trimmed close to plate mark. Minor ink offset to bottom right corner.

[46010] £120 68

29. Iacob sur ses vieux jours quitte sans fascherie pour voir son ďŹ lz Ioseph, sa terre et sa patrie Stefano della Bella Etching [1643-1664] Image 180 x 275 mm, Sheet 187 x 275 mm unmounted A depiction of Jacob’s journey into Egypt. Jacob is on horseback, leading a procession with his entire household of seventy people and all his cattle, camels, cats and dogs. He has just received the news that his long lost son Joseph is still alive and works in service of the Pharaoh. Jacob is determined to see his favourite son at least one last time before he dies, and immediately prepares to travel to Egypt.

(Genesis 46) De Vesme/Massar 1971 2. iii Condition: Good impression. Light toning and creases, mainly to the corners and top margin. Trimmed to plate mark.

[46009] ÂŁ450 70

30. [The School of Athens] Giorgio Ghisi after Raphael Copper engraving [Giovanni Giacomo de Rossi, Roma, 1648] Image 490 x 805 mm, Sheet 600 x 900 mm mounted A depiction of The School of Athens, where all the greatest thinkers and scientists from classical antiquity have come together to share their ideas. These historical figures were not all alive at the same time, but are nonetheless shown here together. At the centre we see Aristotle in conversation with Plato, who is making a rhetorical gesture by pointing at the sky. Socrates is portrayed to their left, debating with a group of students. In the foreground the mathematician Pythagoras is writing in a book, while the figures behind him lean over his shoulder to look. To the right Euclid is shown bent over with a compass, explaining a theory to onlookers.

This is a copy after the engraving by Giorgio Ghisi, which was a close rendition of Raphael’s fresco in the Stanza della Segnatura of the Apostolic Palace in the Vatican, painted between 1509 and 1511.

The print has been attributed to several artists, such as Cavalieri, Osello, and Nicolo Nelli. The latter’s name was inscribed on the first known state of this print, dated 1572 (according to an account by art historian Zani). It was possibly Philippe Thomassin (1562-1622) who came into possession of the plates and changed the inscriptions to the ones visible in this impression. Giovanni Giacomo then later added another inscription with his name and the date 1648, and re-issued the print.

Inscriptions: “Raphael vrbin pinxit Romae in Vaticano” (on pillar to the lower left); “Pavlvs athenis per epicvraeos; […] redivivvm Christv[s] resvrrectionem. Act XVII./ Gio. Jacomo de Rossi formis Romae alla Pace 1648.” (cartouche at lower left corner); “Per III.re et Exc.mo. D. Io. Baptistae Figon. Atrium, et Medicinae professori Eminntiss./ Philippus Thomassinus servus deditissimus dat, donat, dicatq. 1617 Romae.” (bottom centre); “Phls. Thomassinus excud. Cu priuul Summi Pont.s et supior licentia.” (bottom centre right) Giorgio Ghisi (1520-1582) was an Italian printmaker from Mantua. He travelled to Rome from 1534 to 1549 and in the 1550’s, as well as to Antwerp, where he worked with print publisher Hieronymus Cock around 1550. After his second trip to Rome, he went to in Paris in the late 1550’s and stayed until 1567 but possibly longer, after which he moved back to Mantua in 1574.

Raphael (1483-1520) was born in Urbino as Raffaelo Santi. His father was court painter and was able to provide Raphael’s training from a young age in this environment. Raphael became an independent master in 1500 and eight years later he was requested at the Vatican by Pope Julius II to redecorate the papal apartments. Here in Rome he further developed his skills as a portraitist and history painter. In 1514 he replaced Bramante as the head architect for the pope, and designed part of the Saint Peter’s new basilica as well as several chapels. Even though Raphael died at 37, he is known as one of the greatest painters of the Italian Renaissance.

Condition: Printed from two plates on two separate sheets and joined. Slight water damage to lower right corner of sheet and image. Light horizontal creases.

[44004] £1,000 72

BIOGRAPHIES Artists, Printmakers & Publishers Jost Amman (1539-1591) was a Swiss-German printmaker and publisher, born in Zürich, but working for the majority of his life in Nuremberg, where he was apprenticed to the woodcut artist Virgil Solis. One of the most prolific woodcut artists of the sixteenth century, Amman is believed to have drawn and cut over 1500 prints. He is particularly celebrated for his numerous biblical prints, and a series of Bavarian topographical views commissioned by the cartographer and mathematician Philipp Apian.

Hans Sebald Beham (1500-1550) was a German engraver and the most prolific of the Kleinmeisters (”Little Masters”), so called because they mainly produced small prints. He worked together with his brother, Barthel Beham, and Georg Pencz, and all were heavily influenced by the work of their contemporary, Albrecht Dürer (1471-1528), and might even have worked in his atelier. Beham produced a variety of allegorical, mythological, biblical and genre scenes and was active in Nürnberg and Frankfurt am Main.

Adriaen Collaert (1560 - 1618) was a Flemish engraver and major publisher, active in Antwerp. He was a member of the Guild of St Luke, and worked with Gerard de Jode, Eduard Hoeswinckel and Hans van Luyck. His works are known for their anatomical correctness as well as its physiognomical expressiveness.

Some of his original plates are engraved with a cipher.

Stefano della Bella (1610-1664) was a Florentine etcher who worked there for the Medici-family. From 1633 onwards he often worked in Rome and later he also began working with French publishers after travelling to Paris in 1639. He was a very prolific etcher and made designs for a wide range of subjects.

Willem de Haen (fl. 1609-1625) was a Dutch 74

printmaker and draftsman, who was mainly active in Leiden, Köln and Rome. He produced a set of engravings for a history of Leiden by Orlers in 1614 (”Beschrijvinge der stad Leiden”) and very fine copies of Dürer’s “Engraved Passion” series.

Abraham de Koning (c.1585-c.1619) was a Flemish poet, dramatist, publisher and art dealer. At a later stage in life he moved to Amsterdam, were he was a member of “Wit Lavendel”, a chamber of rhetoricians (”rederijkerskamer”), a dramatic society founded in the 15th century, to support and finance theatre with secular instead of purely religious themes. He had a big influence on the work of Joost van den Vondel.

Crispijn de Passe the Elder (1564-1637) was a prominent Dutch engraver and the founder of a distinguished publishing house in Cologne, which produced portraits of European nobility, and religious prints amongst others. The family were forced to leave Cologne because of their Anabaptist faith in 1589, moved to Keulen and later to Utrecht in 1611. Crispijn was the father of Simon, Crispijn the Younger and Magdalena van de Passe.

Giovanni Giacomo de’ Rossi (1627-1691) was a print publisher based in Rome. He was the son of Giuseppe, and brother and successor in 1653 of Giovanni Domenico. His career blossomed from 1657 on, when he married a rich widow, and subsequently built a casino on the Janiculum to the design of Baratta. He is bestknown for publishing many high quality sets of Roman views. The main series included engravings of fountains, gardens, palaces and contemporary buildings, including his own casino. He was succeeded by his son Domenico.

Maerten de Vos (1532-1603) was a Flemish painter and draughtsman. He was a pupil of his father Pieter de Vos,

and a follower of Frans Floris in Antwerp. Between 1550 and 1558 he travelled in Italy, visiting Rome, Venice and possibly Florence. In 1558 he became a master of the Antwerp Guild of St Luke. Between 1571 and 1572, he was dean of the Guild. From 1575 he mainly produced print designs. He was the father of the artists Daniel (1568-1605) and Maerten the Younger (1576-1613).

Albrecht Dürer (1471-1528) was a celebrated German polymath. Though primarily a painter, printmaker and graphic artist, he was also a writer, mathematician and theoretician. Born in Nuremberg, Dürer was apprenticed to the painter Michel Wolgemut whose workshop produced woodcut illustrations for major books and publications. He travelled widely between the years of 1492 and 1494, and is known to have visited Martin Schongauer, the leading German painter and engraver at the time, at his studio in Colmar. In 1495, Dürer set up his own workshop in his native Nuremberg, and, by the beginning of the sixteenthcentury, had already published three of his most famous series’ of woodcuts: The Apocalypse, The Large Passion, and The Life of the Virgin. Nüremberg was something of a hub for humanism at this time, and Dürer was privy to the teachings of Philipp Melanchthon, Willibald Pirkheimer and Desiderius Erasmus. The latter went so far as to call Dürer ‘the Apelles of black lines’, a reference to the most famous ancient Greek artist.

Though Dürer’s approach to Protestantism was not as staunch as that of his fraternity, his artwork was just as revolutionary. For their technical virtuosity, intellectual scope, and psychological depth, Dürer’s works were unmatched by earlier printed work, and, arguably, have yet to be equalled.

Philips Galle (1537 - 1612) was a Dutch engraver, printmaker, and publisher, particularly celebrated for his reproductive engravings of original works by Hieronymus Cock, Maarten van Heemskerck, Johannes Stradanus, and other Dutch and Flemish masters.

Galle’s success as an engraver and publisher put him in close contact with many of the late sixteenth century’s most important figures, including Ortelius, for whom he produced numerous plates, as well as Christopher Plantin, his students Hendrick Goltzius, Adriaen and Jan Collaert and others. Following his work on Ortelius’ Theatrum Orbis Terrarum, Galle produced a series of miniature maps after Ortelius’ originals, which he published, potentially without the permission of Ortelius, as the Spieghel der Wereld, the first miniature atlas.

Giorgio Ghisi (1520-1582) was an Italian printmaker from Mantua. He travelled to Rome from 1534 to

1549 and in the 1550’s, as well as to Antwerp, where he worked with print publisher Hieronymus Cock around 1550. After his second trip to Rome, he went to in Paris in the late 1550’s and stayed until 1567 but possibly longer, after which he moved back to Mantua in 1574.

Wenceslaus Hollar (1607-1677) left his native Prague in 1627. He spent several years travelling and working in Germany before his patron, the Earl of Arundel brought him to London in 1636. During the civil wars, Hollar fought on the royalist side, after which he spent the years 1644-52 in Antwerp. Hollar’s views of London form an important record of the city before the Great Fire of 1666. He was prolific and engraved a wide range of subjects, producing nearly 2,800 prints, numerous watercolours and many drawings.

Flavius Josephus (c. 38-100) was a Jewish commander, who fought against the Romans during the Jewish Revolt in Galilee in 66AD and Jotapata in 67AD. He was defeated by Vespasian, who took him prisoner, but who Josephus ended up admiring so much that he chose the name “Flavius” upon being freed by Vespasian in 69AD. He followed Titus and the Roman army in the taking of Jerusalem and took Roman citizenship as he returned to Rome, where he wrote historical books on “The Jewish War”, “Jewish Antiquities”, “Against Apion” and even an autobiography.

Veuve Langlois (fl. 1647-1655) also known as Madeleine Langlois was the widow of a publisher, and took over the business near the Colonnes d’Hercules in Paris, after his death in 1647. She stopped trading however, after getting remarried in 1655.

Michelangelo or Michelangelo di Lodovico di Lionardo di Buonarroti Simoni (1475-1564) was born in Florence and apprenticed with Domenico Ghirlandaio. He left his apprenticeship after merely one year, having nothing more to learn. He was taken under the wing of Lorenzo de Medici, and studied his patron’s collection of Roman sculptures. Michelangelo’s fame grew exponentially after he finished his David in 1504, and was asked to come to Rome by Pope Julius II. He worked on the Pope’s tomb, and was commissioned to paint the ceiling of the Sistine Chapel. Michelangelo was one of the most important Renaissance artists and is still today regarded as one of the greatest artists of all time. Apart from being a painter and sculptor, he also wrote poetry and developed several architectural projects.

Nicolo Nelli (1552-1579) was an Italian printmaker and publisher who was active in Venice, where he had a shop at the Rialto. He started as a printmaker in 1563 75

and produced book-illustrations as well as prints for Ferrandi Bertelli. His shop opened in 1570, where he would also start publishing prints by Gaspare Oselli, Giacomo Franco and others.

Georg Pencz (c. 1500-1550) was a German painter and engraver active in Nuremberg and part of the Kleinmeisters (”Little Masters”), so called because they mainly produced small prints. He worked together with the brothers Hans Sebald and Barthel Beham. All of three of them were heavily influenced by the work of their contemporary, Albrecht Dürer (1471-1528), and might even have worked in his atelier.

Raphael (1483-1520) was born in Urbino as Raffaelo Santi. His father was court painter and was able to provide Raphael’s training from a young age in this environment. Raphael became an independent master in 1500 and eight years later he was requested at the Vatican by Pope Julius II to redecorate the papal apartments. Here in Rome he further developed his skills as a portraitist and history painter. In 1514 he replaced Bramante as the head architect for the pope, and designed part of the Saint Peter’s new basilica as well as several chapels. Even though Raphael died at 37, he is known as one of the greatest painters of the Italian Renaissance.

Martino Rota or Martin Rota Kolunic (c. 15201583) was born in Dalmatia, but spend most of his life working in Rome, Venice, Florence and Vienna. He was an artist of many skills, being a sculptor, painter and draftsman, but is best known today for his engravings.

Rota produced mainly portraits and religious scenes.

The brothers Jan Sadeler I (1550-1600) and Raphael Sadeler I (c. 1560-c. 1632) were part of a family with three generations of printmakers and publishers. They were originally based in Antwerp. Jan moved to Cologne in around 1579, and from 1588-1595 on the brothers worked together in Munich. Both left Munich in 1595 and moved to Venice via Verona. After Jan died in Venice in 1600, his son Justus took over the firm there.

Raphael returned to Munich, but stayed in close contact with the Venice branch of the family.

Raphael Sadeler I (c. 1560-c. 1632) was a Flemish printmaker, publisher and art dealer, and was part of a family with three generations of artists and publishers.

Raphael was originally based in Antwerp, but worked together with his brother Jan Sadeler I in Munich from 1588 to 1595. Both left Munich in 1595 and moved to Venice via Verona. After Jan died in Venice in 1600, his son Justus took over the firm there. Raphael returned to 76

Munich, but stayed in close contact with the Venetian branch of the family.

It is possible that the printmaker responsible for this set was Raphael Sadeler II (1584-1634), the son of Raphael I, who was also born in Antwerp, and active in Venice and Munich.

Pieter Serwouters (1586-1657) was a Flemish printmaker and draftsman from Antwerp. In 1622 moved to Amsterdam, were his brother Philips, who was also a printmaker, had already settled.

Virgil Solis (1514-1562) was a German printmaker and publisher, and the scion of a large family of Nuremberg artists. Solis produced illustrations on all manner of subjects, though he is best known for his biblical and classical scenes, particularly the large number of woodcuts which appeared in numerous sixteenth century editions of Ovid’s Metamorphoses.

Jan van der Straet or Giovanni Stradano, more commonly known as Stradanus (1523-1605) was a Flemish mannerist painter and designer of prints and tapestries. Born in Bruges in 1523, he received early instruction from his father, went on to train in Antwerp under Pieter Aertsen and became a master in city’s Guild of St Luke in 1545. He moved to Florence where he entered the service of the Medici Dukes and Giorgio Vasari. Collaborations with Hieronymus Cock and the Galle family resulted in many of his works, such as his popular series of hunting scenes, being published as copper engravings.

Antonio Tempesta (1555-1630) was an Italian painter and printmaker from Florence. He apprenticed with Stradanus, and moved to Rome circa 1580. He started working as a printmaker in 1589, making them after his own designs and often even publishing them himself.

He specialised in views of landscapes and the city, as well as series of battles and hunting scenes, which were immensely popular.

Philippe Thomassin (1562-1622) was a French printmaker and publisher. He migrated to Rome around 1585, where he would live and work until his death. He is not to be confused with another Philippe Thomassin (1536-1606) who was active in France as a painter.

Joost van den Vondel (1587-1679) was a Dutch poet and dramatist. His Protestant parents had fled from Antwerp to Cologne where he was born, and later moved to Amsterdam. Van den Vondel was very religious himself and was against the religious persecution of the Protestants. This was evident in his

production of Palmedes, in which the Exodus of the Jews from Egypt is used as an allegory for the Protestants fleeing from the Spanish Catholic prosecution in the Southern Netherlands. All of his other works also feature Christian themes.

Maarten van Heemskerck (1498-1547) was a Dutch painter and printmaker. He apprenticed in Haarlem with Jan van Scorel and travelled to Italy from 1532 to 1537. He had a very successful career in Haarlem upon his return. As a printmaker he worked exclusively as a designer, collaborating with engravers such as Philips Galle, Cornelis Bos, Dirk Coornhert and Theodor de Bry, often through association with Hieronymus Cock and other publishers.

Christoffel van Sichem I (c.1546-1624) was a Dutch printmaker, draftsman, and publisher who mainly lived and worked in Amsterdam. He was the father of Christoffel van Sichem II and grandfather of Christoffel van Sichem III, who both followed in his artistic footsteps. He was a prolific engraver, producing many portraits and small bible illustrations.

David Vinckboons I (1576-1632) was a painter and printmaker from Flemish descent, but his family was Protestant and therefore moved to Amsterdam while David was still young, to avoid religious prosecution.

Vinckboons was heavily influenced by Pieter Bruegel the Elder, specialised in landscape and genre scenes, and introduced motifs and models of Flemish genre painting to the Netherlands.

77

78

79

Sanders of Oxford

Antique Prints & Maps 104 High Street, Oxford. OX1 4BW info@sandersofoxford.com - 01865 242590 - www.sandersofoxford.com